no idea why i thought this scene was significant

I just watched the Molly Sherlock scenes in the empty hearse again…. I just…. omg! The flirting! The way he looks at her! Ahhhhhh!!!!

Okay, collecting my thoughts. I’m going to break it down as I see it. Note* this is just my opinion/interpretation of those scenes… I do not pretend to have any clue as to the motivations of the writers or actors during these scenes.

1. Sherlocks welcome back: Sherlock goes to Molly right after he sees John. Why is this significant? Well, Molly knows that he is alive, so she shouldn’t be a high priority on his back from the dead tour, but he goes to her straight after John. (I’m even toying with the idea that he sees her first… see bottom of post for more on this.) we have all seen the gif (I don’t know how to make it or find it or I would add it lol) when they first see each other at Barts in the locker room. The focus is on Molly but you can still see him smile in the reflection of the mirror.

2. When he is waiting for her to come over to ask her to go crime fighting: he is nervous. You can see him mouthing words to himself. (Figuring out how to ask her?) note* at this point I think he already knows about her engagement, I think he knew that from their first meeting.

3. That whole scene when he asks her: like omg! When have you ever seen him be so diplomatic? It reads so much like him attempting to ask her out I’m not surprised she thought he was. And when she finishes his sentence for him, the look he gives her! His eyes! (Okay at this point my nose was literally an inch away from the screen as I watched on slow motion) he looks at her like: well, yes. Obviously.

4. The cheating husband case: “Your not being John your being yourself.” ….. do I really need to say more here? Come on! Okay fine: she is sitting next to him! John always sits opposite him, and the clients sit on the desk chair and get judged. This time the client sits in John’s chair with her husband standing next to her. Sherlock is deliberately creating changes to his routine so not to make Molly feel like she is a substitute.

5. The catfish case. Again, Sherlock seats the clients in another part of the room….. look at his history people! Every case, he always sits them in the same spot. Except for when he is with molly… not only that but look at his face as he holds the client’s hand… also he holds the client’s mother flipping hand!!!! Could you get more out of character??? This case is a 2 at best, but he looks so much like he cares. Why would he do that? Why would he waste time talking to the client, she is obviously upset and irrational.. traits that Sherlock detests, and yet there he is. “And you really thought he was the one didn’t you…. the love of your life.” *looks straight over to molly* Even as he explains the truth to Molly he does it quietly, with caring in his voice. Rather then his usual MO of just blurting it out… (also notice that all these cases are around lovers, cheating or not being what they say they are…. like maybe he wants her to think about her relationship…) and then he serves up the clients dad. Which again is out of character, he wouldn’t care.

6. The case with lestrade: he is totally showing off for her! Okay head cannon, John talking to him? That’s his own self doubt sneaking in. Eg. M: “Your on to something aren’t you?” S: “maybe.” John’s voice: show off… he is actually showing off then lestrade asks him about Molly and he says he is giving it a go. He says that because it’s not his choice if this continues, it’s hers. When lestrade asked him about John he answers diplomatically and walks over to stand near Molly. *Note: the ongoing proximity thing he continues to stay by her side the whole day. So then she goes over to the body and he heads straight over next to her again, she notices he proximity and steps back apologising. He reassures her and John tells him he is jealous. Jealous of what I ask you? How does that work any other way? He is jealous because she steps away, because she is with someone else. That’s why he’s jealous. When he picks up the manifesto he blows the dust off away from Molly, just another little thing I noticed that shows he cares. He also shows it to her first before lestrade. When she tells him it’s impossible, he leans in and says “welcome to my world” the intensity in his eyes is just fantastic! Then John calls him a smart arse. This is because Sherlock is trying to get Molly excited by the work, like he did with John. Because having her around solving case with him is the closest thing he can get to being with her. Then John tells him he forgot to put his collar up, he forgot to look cool so she would want him…. when he accidentally calls her John, well he’s done that before. Plus he has John in his head at the time. (I don’t really have anything for this if anyone else wants to add in their own head cannon I would love to hear it)

7. The train case: so much flirting, I’m just going to repeat that SO MUCH WITH THE FLIRTING! He spends the whole time paying more attention to Molly than he does the case, eg. The girlfriend joke. Someone posted on here once that they were surprised that Sherlock didn’t pick up on the missing car straight away. This is because he’s not looking at the footage, he’s looking at her…… I watched like 6 times. (I know I’m totally obsessed!) but he really does, you can actually see him looking at her not the tape.

8. When he comes out of his mind palace: he talks about maps, but as he goes past Molly he changes the subject and asks her out…. yes he was asking her out, it’s Sherlock…. he is the master of subtly….. this is the moment where he sees if he has managed to sway her…… this whole day, the cases he chose, the showing off. All of it was to show her that he was better than the man who gave her that ring. So he makes his final play and asks her out…. but it doesn’t go well does it. She calls him out on the day. Molly Hooper is not an idiot. She knows what he is doing and she asks him point blank about it. He knows he lost the game so he does one more very unsherlock type thing…. he tells the truth. “The one person he thought didn’t matter at all to me, was the one person who mattered the most.” He never breaks eye contact here. And then, he lets her go….. his face when she starts to talk about Tom, that wistful smile! Be still my beating heart! He tells her he is happy for her, that he wants her to be happy. He didn’t even do that for John with Mary! But lets just take a look at that for a second shall we…… it’s established that Sherlock hates change. He has always found fault with every relationship around him, John’s girlfriends, Molly’s boyfriends. Even mrs Hudson’s relationships are not off limits. When he met Mary he deduced her and found her acceptable. But he has never met Tom. He would never let his friend date someone without judging them first. But he lets her, because he doesn’t think he deserves her. And then oh my goodness the kiss, right up until his lips hit her cheek you cannot be sure he isn’t going to kiss her properly. His face is completely open and without manipulation, he never breaks eye contact. How could anyone see that moment and not realise he loves her? How?


Okay back to my head cannon that he goes to Molly before John. First of all, his nose is fine, if he went straight after John it would have at least been red… but it wasn’t, and then there’s the cut on his lip, the obvious cut on his lip…. also missing.and then there’s the lighting. We know that it was late at night when he saw John but it was bright at the hospital. You can see the light coming in from the windows hitting the lockers. But when he goes to see lestrade it’s dark again. Therefore he goes to see Molly first.


Ok so that is my head cannon break down of Molly and Sherlock in TEH let me know what you think! Do you agree, disagree? Have anything to add? Did I get anything wrong?

I spent so much time thinking and writing about Raven and Sinclair’s reunion and how that specific re-connection managed to balance everything that happened between Raven and Becca out, that it almost escaped me that Raven actually comes to do something Luna once told her to do (“I give myself to the miracle of the sea.”)

On the surface the Luna/Raven moment seems to be a rather simple one, possibly because Luna’s ability to temper Raven’s emotions down with tenderness takes the foreground in the scene and brings attention to the immense comfort Raven gets from the whispered words/having someone who knows how to fight (yes, I don’t know about a dark Luna who gave up) physically close, but on a meta-textual level there is so much more to Raven symbolically giving herself to “water”, since it does not only play into what Raven’s rage looks like at rest position, coming face to face with what she did to Murphy and therefore herself, but also how her outburst of dysfunction has a lot to do with what happens to her brain, and that there is something that can help her heal her mind (Becca’s lab is like an access archive of ways to heal).

We see a similar scenario unfold itself during the last Luna/Murphy/Raven scene too, which takes place in the same episode. There is a tension-filled moment wherein Raven runs calculations once again, high effort put into the task in order to crash Becca’s rocket. Raven repeatedly tells herself that everything has to be “perfect”, goes through the entire procedure like a scientific test object in which she unknowingly strips herself from her own talents. It even goes so far that when Luna suggests a controlled crash into water the computer denies Raven the action and tells her that she’s not able to go along with it - which again frustrates her beyond belief and puts her in yet another position in which she doesn’t know what to do as she is too fixated on the numbers in front of her. But that’s also when there is a meeting of minds: we get to the climax of the scene when Murphy comes along and changes the way Raven looks at the problem. He swoops into focus and is the one who basically tells Raven to screw the computer and do it on manual - “Fly it yourself”.

Now, to get back to my initial thought process and why everything that happens in 4x06 is highly significant for Raven’s character progression in 4x11 - of course, I didn’t see the idea with water come into full circle until after seeing “The Other Side”, but now that I think about it, the focus on the things that both Luna and Murphy do and say - not just in terms of landing the rocket or Raven calming down - make so much sense and create such a great continuation of what Raven experiences on Science Island (finding out about her ALIE-upgrade being the main focus), because Raven decides to die in water to get rid of the last remnants of ALIE’s code in her brain so that she can survive/live.

There is quite a curious comparison that you can make between all the scenes (the few from 4x06 and the two final moments of Raven’s arc in 4x11), because while Raven, in both episodes, comes to trust herself and her talent and do the task, she doesn’t fully come around to trust her own heart until she manifests Sinclair and gets into a multi-dimensional one-on-one conflict with her mind and heart - Becca (mind) vs Sinclair (heart), each on either side of her shoulder and Raven in-between, the one person who needs to make a choice.

The thing with 4x06 is that, by the end of the episode, she still ends up having a seizure after finding out that Clarke and co. lost one barrel of hydrazine that Raven so needs, because no matter how much Raven is moved by external forces (Luna and Murphy for example), as long as ALIE’s code exists in her brain her mind will be pushed beyond its safety limits and will, essentially, make Raven convince herself that she will be dying (we first come close to that “reality” when Becca appears in 4x09 and tells Raven that her time is running out), which ultimately causes her to stop trying after trying too much.

So, the internal conflict doesn’t vanish but increases episode by episode - ending up with Raven choosing to stay behind and go for a last spacewalk. But before she gets to that she’s faced with yet another problem, or rather, Raven comes to a halt once more since her mind focuses on "science” again.

And that’s when her heart comes into play (for the first time). When the science starts to spin in Raven’s mind, her heart decides to manifest someone Raven loves, Sinclair. And the fascinating thing about this, besides having Sinclair back for one more episode, is that it adds texture to Raven’s story line, since the people her mind manifests are people we know (they have an identity).

With Sinclair’s appearance we don’t just (finally!) get the long awaited reunion between two characters (3x12) - since Raven and Sinclair’s separation had been an abrupt one and Raven never came around to actually mourn his loss - but also the visual depiction of what had been planted into Raven’s journey for a while now (her own self-love is what will save her). We get one very risky solution that could help Raven get rid of the code in her head (dying two times), and one hell of an emotional portrayal of immense character growth.

With all this being said and done, Raven comes to fully trust and love herself in that episode through her connection with Sinclair (or truthfully, through her connection with herself, as both Becca and Sinclair reflect parts of Raven):

When the loss of sight (laser focus on numbers - the computer) disappears from Raven’s vision-field and she gets to be in touch with herself (her own heart) we fully come around and get back to the one line I started this post with “I give myself to the miracle of the sea”. The visual motif is pretty clear:

Just after Raven chooses life over pain we see her enter water, in which she chooses to die and come out alive again. The framework of this moment is beautiful because Raven is wearing nothing except a top and some shorts.

Unlike the wish of the spacewalk, which would have meant getting into an EVA spacesuit that would eventually lead to her death while floating (its her first worry), here we have a depiction of a Raven “stripped” down and sinking into her will to survive. So, the textual connection that is established goes this way: she’s like a space rocket (take the space rocket she tries to fly in 4x06) that needs to crash into water (Luna’s suggestion) to override the issue (overcome her own doubts/fears - Murphy literally tells her to do it herself, “fly it yourself”).

Believe it or not, but that’s one type of spacewalking - willingly going to the other side to die and managing to come back out of it alive.

hmm i had a thought and maybe im looking too much into it…

in this scene where bum hallucinates the bodies coming out of the washing machine.. don’t you notice somethin directly in the middle of the bodies??

there’s a finger pointing directly at bum!! i wonder exactly why that is and if its significant! i think maybe bum was subconsciously pointing to himself as if to say “you’re next”

anonymous asked:

What do you have to say about that B£thyl manip using the Caryl hug?

Hi there my anonymous friend,

As always thank you for your message and for trusting me with your question.
In the grand scheme of things and especially on our beautiful CARYL ship, my personal opinion or thoughts when it comes to these things isn’t all that important but I think that when it comes to the “drama” surrounding this particular issue, most Carylers are on the same page as me.
I can’t speak for everyone of course but the reactions I have heard about were pretty unanimous and I believe the creator of the manipulation might be in for a surprise once more voices are heard.

While I am rather “talent-less” when it comes to artist creativity, I absolutely love fan-art of all sorts and that includes manipulations as well.

There are several amazing artists in our community (justyouanmee and Ooohshiny) that create these “lost scenes” and their work never fails to inspire and stir everyone’s CARYL feels (whoever a boost is needed). It is my understanding that these pieces require a lot of work and their creators spend a lot of time and effort perfecting the final product.

All Art regardless of whether you like it or not should never be mocked, belittled or slammed negatively just because one is simply not able to appreciate its beauty or its message.

For me, personally, that rule applies to fan creations even more, because I recognize that behind each piece are people who are not just proud of their work but are also brave enough to share it with virtual strangers. All the time fully knowing that they could be ripped to shreds by negativity and for absolutely no other pay aside from their own desire to make others happy.

For that very reason if something doesn’t appeal to me I simply scroll away from it.

That being said, this particular manipulation in my opinion does not represent a piece of fan art nor does it celebrate their “ship” in any kind of positive way AND in fact I feel that it’s very existence only serves to devalue and downgrade their “pairing” more.
In a way it even elevates and validates CARYL, which obviously wasn’t the “artists” intent.

The reason I don’t consider the manip to be an art piece is because to me it looks like very little work went into it and aside from some basic cutting-pasting and light-colour alteration, whoever made it didn’t exactly express themselves creatively in any sort of way.
Taking Carol’s head and replacing it with Beth’s, isn’t exactly inspirational or meaningful AND to me it says absolutely nothing about Daryl and Beth at all.
On the contrary like I said the very fact tag it had to be made, paints the B*thyl ship as petty, envious and even more dubious than it was before this.

I can’t see any serious B*thyl shippers approving or even wanting this on their blog because the “heads” might be different in their “faux” piece BUT the emotion behind it belongs and shines brightest between Carol and Daryl because ultimately the MOMENT portrayed was shared between them and them alone.

No matter whose head you put on those bodies, the emotional significance and the beauty of what actually transpired can’t be duplicated, replaced or manipulated, no matter how fancy your photoshop skills might be.

The reunion was between Carol and Daryl and I can’t see how a B*thyler can look at that scene with Beth’s head on Carol’s body and feel anything but bitterness and a sense of disappointment for it not being a REAL THING for them.
For that reason I can’t understand why someone even thought it was a good idea in the first place.

The reunion scene was originally declared as “familial and platonic” by B*thylers in order to validate their perception of Carol and Daryl’s relationship being something akin to a sister/brother, mother/son or BFF dynamic BUT this manipulation seems to suggest and validate romantic elements within it because their own “assumption” and expectation of the B*thyl reunion had always been one of romantic love.

So the theory being is that the mechanics of the CARYL reunion could have been ones showing two people “in love” BUT not if Carol was involved.
Basically - if Carol had been Beth and that scene was the B*thyl “romantic” reunion they had wanted then the scene was indeed one between “lovers”!

Thereby the manip shows that their previous certainty of the reunion being platonic was either not genuine or their resolve to deny it has started wavering.
Regardless of the motive for creation - the picture might have Beth’s head in it but the scene inadvertently validates a romantic CARYL possibility.

With that said even though it is “flattering” to CARYL in one way, I still feel that the “artist” who made it meant it more as an insult towards Carylers than a way to boost any kind of positive B*thyl morale on their ship.
I believe it was meant to create “drama” and “outrage” BUT not in a way to give B*thylers any kind of “feels” or hope for their “pairing”.
I can’t help but feel like the manipulation was created more out of spite and desire to mock and devalue a moment Carylers treasure the most - the message being “the scene would have been better if it was Beth and not Carol in Daryl’s arms”.

However what we have here is a validation that we have something they not just don’t have but also want to have for themselves.

We have the original and since they can’t have the real thing, they have to go for a cheaply made “knock-off” to satisfy their envy and bitterness.

Bottom line is - “Imitation is the best kind of flattery” so I suggest that instead of getting mad we just say “Thank You” and revel in the fact that CARYL is just that amazingly powerful that they simply couldn’t help themselves…

Daryl broke down in joyous tears, sprinted without needing to, gathered Carol in his arms and has been practically glued to her side ever since!
That’s some beautiful stuff right there - No wonder they want it for themselves!

CARYL On My Lovelies - The Best Is Yet To Come!

Love XOXO

Sanja